MUSIC SPOTLIGHT

RUFUS WAINWRIGHT AND HIS GARLAND OF SONGS

RUFUS DOES JUDY AT CAPITOL STUDIOS FOR HER 2022 CENTENNIAL

June 10, 2022: The entertainment world will mark Judy Garland’s centennial birth date. And a beautiful part of this acknowledgement will be presented by the incomparable Rufus Wainwright. His Rufus Does Judy at Capitol Studios release is a rich and layered musical tribute to her legendary status as an entertainer and unforgettable icon. And the music will be available that very day, June 10. Rufus Wainwright spoke with The RAGE Monthly during a break between his touring, about his love behind Rufus Does Judy at Capitol Studios.

Congratulations on this latest release. Was this another divine Judy inspiration? You had already amazingly created Judy’s concert at Carnegie Hall to acclaim; did you want to take that creation a bit further by heading into Capitol Records for this new release?

Judy has always had a leg up on me, you know. She knew she learned these songs when she was an infant. So, I finally feel now that they’re in my bounds and that I can perform them effortlessly. It was a good time to go into the studio and capture this.

What changed for you in the delivery of the songs while you were recording them this time? You have spoken a bit about your feelings regarding the songs, but will you elaborate on that?

Well, it was done in a more “quote on quote” jazz fashion, in the sense that we did many takes eventually and just really got deep into the kind of groove of the ensemble, since it’s not, you know, with an orchestra. You could sort of play off each other more. I would say it’s more jazz.

Looking at the selection of the songs you present, is there even possibly one song out of the set that you favor more than the others and if so, why? Your rendition of “I Can’t Give You Anything But Love” is a favorite of mine.

On this release I’m very proud of “I Can’t Give You Anything But Love” as well. That’s definitely one of the high points. But for me, the watermark is always “A Foggy Day (in London Town).” Her Carnegie Hall version is always the one I’m trying to match, and I think finally on this recording I came close.

Who is having fun with the movie star clips that have been interspersed with your performance in the music videos, and was the initial idea one of yours?

A lot of those ideas are from my husband Jorn, who’s also my manager, and we work with a company called Beautiful Digital. I’m low on the totem pole, and in that arrangement, I just sort of say, “yay or nay” at the end and they always bring me something interesting, so it’s working out.

I saw you in that white shirt with the silver star bursts on it for “The Man That Got Away” video. Please tell me you had that custom made or if it is a shirt you can purchase? In other words, what is the backstory on this beautiful piece?

Well, that shirt is even more special than what you’re not wearing. It’s the original shirt that I wore for the first Judy Garland concert at Carnegie Hall almost 20 years ago. (Wainwright performed this concert in 2006.) It was custom made for me by Viktor&Rolf, and it’s one and only, so I’m sorry!

(laughter) Understood. On “Come Rain or Come Shine” I think your rendition is faster in tempo than Judy’s. It seems that way to me. Where did you breathe? Seriously. How many takes did you do on this song?

We did a few takes on that one. This is definitely the kind of most Olympian number of the set. I think I approached this one in a Sinatra-esque fashion, which is perhaps a little less emotional and more athletic. So yeah, it’s a little faster.

Please share how it truly worked out when you were recording, and Renee was listening. This was a very cool and inspired touch indeed. I bet it was excellent to have her of all people as your solitary audience member. I still enjoy her singing from Chicago and Judy.

Some of the tracks are live from when I performed them for Renee, for the live stream. But then for the other ones, which we didn’t feel we captured perfectly, we went back and did several and really dug into them.

Really love the arrangement of “I Can’t . . .” and the length deserves every minute of it. Truly enjoyed the break with just the musicians. You have a way of holding back on a song such as this and it’s to be applauded. How did you put “you” and your interpretation into this song?

Interestingly enough I would say, Judy Garland. I think she’s incredible, but it is not my all-time favorite interpreter of this kind of material. My favorite is actually Peggy Lee, whose approach is always about restraint and about keeping the cards close to the chest. I try to combine both Judy’s fireworks and Peggy Lee’s smoldering embers. I’m kind of channeling Peggy a little bit.

You certainly did by all accounts. I have to say you made these recordings your own. It’s been a pleasure talking with you and the best of luck with the album and your current tour.

Thank you, Bill.